I caught my first episode of Netflix’s Nailed It! tonight, and this might either be the perfect metaphor for what I want to say this week, or the worst, so bear with me. In case you’re don’t know the show, the premise is pretty basic: think baking competition show with the worst amateur bakers possible. This isn’t The Great British Baking Show, where everyone’s doing these complex recipes that somehow come out at least decently, because everyone there knows what fondant is. No, this is the show with every single food-related Pinterest fail ever.
I read about Lynn’s year of writing and my first thought was “that’s excellent! I love when people decide on a path, then walk it despite their fear.” She’s such a strong writer and the world needs more of her voice. She’s got nothing to be scared of.
My second thought was “Oh boy, how do I follow this? My 2018 writing year is a hot mess.”
It’s all over the place! I wrote… all the things. For all the people. And the range is intense:
history lectures in my field for a church class, a co-written article on maps (not my field) for my crowd (professional historians), exhibit text for a general audience interested in makerspace culture, a talk on the Slave Societies Digital Archive for scholars of religion at SORAAAD, a talk on the Fort Negley Descedants Oral History Project for the National Humanities Alliance, a Digital History Profile, an academic book review, two very different grant applications, a trade history book proposal and sample chapters, blog posts, and more!
Unifying these incredibly diverse writing projects, is the question of audience. For who do I write, and why? For me, 2018 was the year I spent experimenting with audiences. Continue reading “A SmartWomen’s Year in Review: Writing Audience (Part II)”
by Lynn Clement
“’I don’t know what you’ve got in mind,’ said Pippi, ‘but I’m not the sort to lie around. I’m a thing-searcher, you see. And that means I never have a moment to spare…The whole world is full of things, which means there’s a real need for someone to go searching for them. And that’s exactly what a thing-searcher does.’”
-Astrid Lindgren, Pippi Longstocking, Penguin Group, Ltd. 2007 edition
As the holidays begin, and the year winds down, it’s a time for Smart Women to reflect. For this writer, 2018 has been full of highs and lows, lasts and firsts.
A few weeks ago I attended my first parent-teacher conference in my daughter’s kindergarten classroom. It was much as I’d expected: seated in a doll-house sized chair I learned of my daughter’s exploits (both good and, let’s say, not-so-good), which, to me, reflect her can-do attitude and Pippi-like personality.
While brave, imaginative, and sharp as a tack, my daughter has “difficulty with transition” and her teacher and I discussed strategies for improvement. She is not the type of child who can easily shift gears. Announce to her that she has 5 minutes left to finish whatever she’s immersed in and panic immediately sets in, as does the frustration, the anger, and the despondency. This is particularly the case when she is creating stories. Already she is well aware of the feeling that there’s so much to do, but not enough time to do it. She is a thing searcher, you see, and she feels as if she hasn’t a moment to spare.
The trait is hereditary because that summarizes my own year of writing. In many ways it’s been exciting. I have so many wonderful writing projects in the works, so many ideas to pursue, so many things to be researched and discovered and learned. In many ways it’s been frustrating because I have so much to say but not enough time to put it down. I’m a thing searcher, you see, but I haven’t a moment to spare!
However, “you get what you get, and you don’t get upset” (a phrase my kid has somehow picked up, though not from me because I’m constantly pissed). This is her way of dealing with the disappointment: the amount of ice cream in a bowl, the color of the free balloon at the supermarket, the amount of time we get and how we spend it. Her expression (ugh. She’s already SO much smarter than me), reminds me of something very important, something I have to remember about this journey that is writing; it’s about creating threads that transcend the time I am so obsessed with.
One of my goals for 2018 was to write more and to be braver about letting people read it. This is one of the reasons that I applied to be a contributor to Smart Women Write. I feel so lucky that I have had this opportunity because being welcomed into this writing community has been one of my biggest writing successes. Not only has my writing improved, but my approach to writing has improved. I’ve fallen back in love with it, I’ve used it to get through some really tough times, and I’ve found important threads that link me to others, past, present, and hopefully future.
While 2018 was about dipping a toe into writing again, 2019 will be about jumping right in, Pippi-style.
For the first time, I will be submitting an article for publication in an academic journal. It is terrifying. What if it’s terrible? What if I fail? What if they say no? What if reviewer #2 is so harsh they make me cry? Well, I’ll get what I get and I won’t get upset because even if it’s unsuccessful this time, the thread has been woven and it will find its way to those who need to read it. I have been researching the Paris Commune for almost a decade now, and this is my connection to the past, my thread to the revolutionary women that predate me, but to whom I feel deeply connected. They too were thing searchers and they were searching for equality. I will tell their story.
In addition, for the first time I will be pursuing a more personal writing project that I also hope to get published. I recently discovered journals written by my grandmother. I never knew she was a writer, but apparently writing a daily journal was a lifelong exercise because there were copious wire notebooks in myriad colors. Even after she became too sick to write, my grandfather took up the mantle and did it for her. The entry on the day that she died is heartbreaking. It is one sentence, 4 words, but it conveys all his feelings (he must have been a writer too). Long before this day though, my grandmother detailed a birthday camping trip taken in 1974 with my grandfather and her youngest daughter. She wrote about everything: what she packed, how she packed it, when and where they got gas, their exact route, the people they met along the way, the weather, the landscape, all that she saw. Her descriptions of the landscape, in particular, made me realize that she too was a thing searcher. It is my plan to recreate the trip this summer on my own birthday (only days after hers) to a town in Canada that no longer goes by the same name. I, too, will document everything.
I will also be pursuing all the writing projects, here and there, that get me through my day: writing improved and inclusive lectures, learning to write code, and writing blog posts that help me to keep it all in perspective. Perhaps nothing will ever get published, but I hope my daughter will find my writings someday. They will be online and in randomly named documents on my laptop rather than in notebooks, but hopefully they’ll remind her that she is from a long line of thing-searchers and story-tellers.
For that’s what writers are, aren’t we?
In honor of National Novel Writing Month, I’m going to tell you another story about the time I taught a nonfiction writing class titled “Writing Your Family History,” at the Nashville Public Library for the Osher Lifelong Learning Institute.
Although everyone reads nonfiction every day, a lot of people think of it as dry, like writing a 5-paragraph essay for school. They often equate nonfiction writing with an encyclopedia article- a collection of well-organized facts that puts you to sleep. (Note: I don’t think that way, I’ve written encyclopedia articles, but I understand the sentiment).
But what about that fascinating personality profile you’ve read about your favorite celebrity’s brush with death as a child? Or the clever piece that was organized as a series of exotic meals, but was really about the small-town narrator’s growing comfort with an unfamiliar culture? How about the human interest story from the journalist in Syria who reveals to us the histories of the people who are trying to flee? Have you admired the way you can learn about the conflict not through 5 boring paragraphs, but through the eyes of people who live it each day?
That’s the magic, right there.
Seasoned writers know that. Beginning writers always say “yes, but that’s a celebrity, or someone traveling to Cameroon, or a trained journalist in a war zone. What about someone like me who grew up in Monterey, Tennessee and worked in a factory for 40 years? Who wants to read about that?” (This was a real question from class).
I think it’s such an important question. One that set the tone for the entire session. Continue reading “What’s your Creative Nonfiction Really About?”
First of all, Happy Indigenous People’s Day!
I’m a historian of Atlantic Africa, the slave trade, and Africans in the Americas, so often that’s where my focus is. But this week I want to remember that while this nation was built by the enslaved, it was built on native land taken by force. I want to remember not to make anyone feel guilty, but to take some moments to sit in my discomfort with America’s past. White people’s attempts to avoid discomfort have caused a great deal of hurt and destruction, and change begins with the self. I will sit in discomfort, and I will help others do the same. I truly believe that it is only when we tolerate our discomfort to fully acknowledge the injustices of our shared past that we can move into an equitable future.
I still believe it is possible, even if the ideal of an equitable future feels far away sometimes. Especially this week, especially if you are a woman or a non-binary person with any history of sexual harassment, abuse, assault, or related trauma. Which is, well, all of us. We all have some experience with it, either directly, or through friends.
I’m not going to mince words. This week, most women in the US, like many other groups of people targeted by this administration, have felt that their country treats them like garbage.
That’s because right now, women (and other groups) are treated like garbage by our country. It’s the only way I have to explain what happened with Kavanaugh.
Something I want to address is how much something like this can affect the writing and productivity in general of women. Most of us are one “let’s give him the benefit of the doubt” away from either full-on screaming or bursting into tears in public. Our writing outputs are suffering. Continue reading “Self Care for Women Writers in the Age of Kavanaugh”
by Lynn Clement
Despite being immensely inspired by Raquelle’s awesome post on “overcoming writing stalls”, I’ve had a difficult time being productive this week. Current events have left me angry, distracted, and anxious. I feel lucky, because many others have had it much worse: anguish, suffering, trauma. Due to my professional training, I am quick to analyze what I see and, even after listening to hours of testimony, it was the images that lingered: the setting, the people, the facial expressions.
My writing has long centered on women’s involvement in revolutionary political movements and their subsequent punishment, in visual form, for entering into the public sphere. Honestly, it’s been almost too easy to find topics because history is filled with demonized depictions of women who dared to defy societal norms and demand equal rights and an equal voice. For so long, I had naively regarded my analyses as study of a distance past. As an art historian, it’s a strange feeling when your research becomes terribly relevant and attempting to return agency and voice after centuries of vilification and erasure feels like a particularly pressing endeavor.
My attention had remained on France and their age of revolutions because, again, there was so much to study. Negative depictions of women revolutionaries abounded. However, I’ve since turned my attention to how other political imagery, ones that we often consider to be positive or laudatory, might be creating a negative impact. And I’ve turned my sights to my own country, which is how I found myself picking a fight with the Statue of Liberty.
Well, to be clear, not with the statue itself, but with the way that personification was changed by those who gave, and those who received, her body. The statue of liberty became a logical image for me given its origins. Although the most recognizable symbol of America, and the liberty and freedom (arguably) found in its republic, Bartholdi’s statue was conceived of by conservative French scholars and politicians who saw the new county as a stabilizing influence against the dangers of monarchy, as well as anarchy. Unlike what comes to mind today, Liberty (since 1792) had worn the Phrygian bonnet (an ancient symbol of the freed slave), wielded a weapon, and had functioned as the powerful, often angry, leader of popular uprising. Joan Landes’ states, in her book on women’s removal from the public sphere during the years before and after the Revolution of 1789, that “Liberty did not simply appear on the seal of the Republic, nor did she remain fixed on canvas or carved in stone. She went into the public forum…” She could be evoked by real women when they asked to be treated as equals.
I thought about this more and more as I saw photographs directly comparing the calm stoicism of Dr. Christine Blasey Ford with the overt anger and frustration of Brett Kavanaugh.
Liberty is someone/something we desire to evoke now, when the status of so many, even as humans, is being tested. (I was going to include a hyperlink, but there were just too many news stories that support this. You know what I’m talking about. Just open a newspaper and throw a dart.) However, the idealized depiction of Liberty found in New York’s harbor is a stern goddess with a rational respect for law and order. Her vagueness denies any relationship with the people who might call upon her protection. Although Linda Grasso’s book The Artistry of Anger focuses on black and white women’s literature, one can apply her theories to the visual. What emotional freedom would have been available to women and people of color when the Statue of Liberty was designed and erected? To be allowed anger is to allow a sense of self, true autonomy. “Two unstated assumptions underlie these premises: one, that the rational, righteously angry person is entitled to desire self-satisfaction, pleasure, and just treatment; and two, that the rational, righteously angry person possesses the power to make judgments about one’s own and others’ behavior. Both of these assumptions have, historically, not applied to women.” Thus, whose liberty is implied in the title of this statue? When the torch was lit rights for women, the working poor, and people of color were being squelched. The Phrygian cap’s replacement with a crown, the removal of her armament, and her composed demeanor seems poignant, to me, in this light, and much less majestic.
My research and writing has been cathartic this year, but it has also reminded me what we are up against: even the strongest visual symbol of this country and its founding ideologies has been constrained. Once celebrated for her righteous anger and willingness to cut down oppressors, she was sanitized for political reasons. While our bodies are used as symbols of enlightened and universal political ideologies, like Liberty and Justice, our voices, our emotions, and our experiences have also been suppressed.
I don’t know if I can say that I’m glad this is a writing project I’ll be working on more and more (to examine and include depictions of America, Freedom, and Lady Columbia), but it feels necessary to fully research and consider. I’ve been seeing Artemisia Gentileschi’s depictions of Judith and Holofernes making the rounds on social media. Perhaps it’s time to design a new colossal national monument…
I’ve always been somewhat of a giant. Being the tallest kid in every class made me a bit shy, and so I retreated often into my head, where all of my favorite stories lived. In kindergarten, I loved going to the bushes at the edge of the playground during recess and collecting the ladybugs that lived there. I would let them crawl around on my hands with their tickly little legs as I gave them names and invented stories about their lives. Every now and then the other kids would ask if I wanted to swing, or play house, or do other things kids did, but I was obsessed with the ladybug game, so I thanked them and promised next time I would.
One day, a boy came up to me and asked me what I was doing. I knew him as kind of a mean boy, but he had never done anything to me, and truth be told, though I was shy, I had my meangirl moments so I gave him the benefit of the doubt. I explained the ladybug game to him, catching him up on the latest drama in bugland.
“That’s really neat,” he said. “Can I hold one?”
None of the other kids had ever expressed interest in my game. Eager for a friend to share in the joys of my ladybugs, I held my hand to his and nudged Esmerelda onto his thumb as I explained her backstory. She was going to become the first ladybug in space.
He held her up to the sun and nodded, then looked into my eyes. His squinted as the right side of his mouth curled up into a smirk. He dropped the ladybug onto the ground, then stomped it while looking at me in glee.
Everything inside of me screeched with the injustice of it. He hadn’t just ruined my game, he had ended a life. It was unforgiveable.
I think maybe he expected me to cry. Or to run and tell the teacher. Instead, in one fluid movement, I shook the other ladybugs off of my hands, grabbed his hair, and threw him to the ground. Then I put my little pink sneaker on his throat and held it there until he started to cry and the teacher intervened.
Now, why am I sharing this story that paints five year old me in an incredibly unflattering and violent light?
It’s all about writing voice. Bear with me.